The Next Reel Film Podcast

After writing his teleplay for "Marty," it wasn't long before Hollywood asked Paddy Chayefsky to adapt his script for a feature film. And it's a good thing he did too — he won his first Oscar for his screenplay. Join us — Pete Wright and Andy Nelson — as we finish our Paddy Chayefsky series with Delbert Mann's 1955 film "Marty." We talk about our feelings for the film and how, while the story of a man with image issues who finally finds love is touching, it still feels very slight. We discuss the actor who plays Marty — the wonderful Ernest "the beef" Borgnine — how he's made his mark indelibly in our heads, and whether this role felt like the right one for him or not. We chat about the other actors nominated for supporting roles — Betsy Blair and Joe Mantell — and how their roles fit within the context of this story about Marty (and whether they deserved Oscar nominations for their performances). And we discuss Chayefsky's interesting writing, not just here but in all 3 films, and look at what themes he's repeating and why. It's a good film that won Best Picture in 1955 and, while perhaps not as relevant today, is still an interesting film to catch up with. We have a great time talking about it, so tune in!

For his original script "The Hospital," Paddy Chayefsky won his second Oscar and created an enemy for himself — the US's medical institution which he was satirizing. But his script, while genius in many ways, veers off course into several strange directions that take the sting out of the satire. And that's, perhaps, why the film isn't talked about much these days. But it's still worth watching and talking about! Join us — Pete Wright and Andy Nelson — as we happily talk about this wild Chayefsky ride and continue our series on this great American writer. We talk about the brilliance of Chayefsky's satire in the script and how it works so well, and contrast that with several elements that don't seem to fit the film completely and make for a less satisfying experience. We discuss the great performances of George C. Scott, Diana Rigg, Barnard Hughes, Richard Dysart and others, and how those wonderful Chayefsky monologues really give these great actors something to chew on. And we talk about the reason Chayefsky wrote this film and how the reaction to this film may have been a partial cause of his death. It's a fascinating film to watch that has moments of brilliance paired with moments of absurdity, resulting in a film that's great to look back at and study, if not one to watch on a regular basis. We certainly have a great time discussing this film. Tune in!

It's easy for us on this show to talk at great length about Sidney Lumet's 1976 film "Network" as it's one of our all-time favorites. Both a scathing indictment of the TV industry and a reality check for people's feelings about the times in which they were living, this film made an indelible mark on the world of film and created one of the most iconic movie lines ever. Join us — Pete Wright and Andy Nelson — as we not only finish our series of films from 1976 but also begin a short but deliciously sweet series of films written by the amazing Paddy Chayefsky. We talk about the prescience with which Chayefsky seemed to have about the modern state of television and our media-infused culture when he wrote this film in the mid-70s, and what he's really saying with the film. We discuss the brilliant directing by Lumet and how he and his director of photography, Owen Roizman, chose to corrupt the look of the film as it progresses, taking us from a relatively normal world to one that is much more menacing. We go through the amazing cast — Faye Dunaway, William Holden, Peter Finch, Robert Duvall, Ned Beatty, Beatrice Straight, and more — and talk about how pretty much every one of them is given their time to shine in this amazing script. And we look back on 1976's Oscars and pick our own winners if we were the only two people voting. We have a great time talking about this amazing film. If you haven't seen it, go watch it IMMEDIATELY, then come back and tune in!

For Clint Eastwood's fifth directorial effort, he returned to one of the genres he's most well-known for — the western — and created an absolute classic, The Outlaw Josey Wales. A western affected both by the revisionist movement within the genre that had been growing for nearly a decade as well as by the overall darker, more realistic tones exhibited in 70s cinema, this film took a lot of old elements from classic westerns and turned them on their heads: the Union soldiers are the bad guys, the outlaw is the hero, the Native Americans are not just real characters but actually integral to the story, and the final shootout takes an unexpected — and ultimately very gratifying — turn. Join us — Pete Wright and Andy Nelson — as we talk about one of our favorite westerns and continue our series of films from 1976. We discuss classic western elements and look at how they shift within this sub-genre, the revisionist western, as well as discuss what this sub-genre is really all about. We talk about the wonderful collection of actors, both leads as well as unforgettable supporting roles filled by amazing character actors, and how they all lend a sense of reality to the film (even if their scruffiness can make them hard to distinguish from one another). We chat about the troubles with the making of this film and why Philip Kaufman was fired as director after a week of production. And we discuss Forrest Carter, the author of the original novel "Gone to Texas" on which the film was based, his history as a KKK leader and segregationist supporter, and how that affects our views on the film. It's a glorious western that is an interesting precursor to Eastwood's 1992 masterpiece Unforgiven, and we have a great time discussing it. Listen in!

Brian De Palma had been making feature films for almost a decade before he made Carrie in 1976, but it was this film that became his first blockbuster and really pushed him to the next level. By making an adaptation of the first book by an up-and-coming writer at the time, Stephen King, and turning it into a very effective and frightening psychological horror film, De Palma created a classic that is nearly as effective (if a bit dated) as it was when first released. Join us -- Pete Wright and Andy Nelson — as we continue our 1976 series with Carrie. We talk about De Palma and his filmmaking style, particularly how he uses the film tools at his disposal to enhance the genre in which he's working as well as to explore the boundaries of what he can with the medium. We chat about the wonderful actors, from Sissy Spacek and Piper Laurie all the way to down to Edie McClurg, and how wonderful they all are, if not quite frightening in how they represent roles in our collective bad high school memories. We discuss the nature of the filmmaking style, balancing the worlds of innocence with that of horror — good versus evil. And we talk about some of De Palma's regular collaborators and what they bring to the table, from composer Pino Donaggio to art director Jack Fisk. It's a great horror film that has stood the test of time and we have a great time chatting about it. Tune in!

The Film Board gathers to take on this weekend's new release, "42". This Jackie Robinson biopic comes with some misgivings, not the least of which comes in writer-director Brian Helgeland's script. The Board is moved somewhere between "stark and emotionless" to "Lifetime Movie of the Week" with this entry into cinema baseball-dom, with a few noted highlights: Chadwick Boseman and Nicole Beharie offer stand-out performances in this otherwise middling sports fare. Join Andy Nelson, Steve Sarmento, Mike Evans, and Pete Wright for a conversation about baseball, great movie posters, and a little bit of Windows 8. Because of Andy.

We're continuing our 1976 series with Martin Scorsese's gritty film Taxi Driver, one of his greatest and arguably most talked about films. Based on a screenplay by Paul Schrader, who set out to write about loneliness, Scorsese's film burst onto the scene with Travis Bickle as the antihero in a gritty, grimy New York full of sex and violence, very much establishing Scorsese as a filmmaking force to be reckoned with. Join us — Pete Wright and Andy Nelson — as we discuss the fascinating filmmaking techniques Scorsese employs in making this film, taking elements of experimental filmmaking and mixing it with a vibrant and alive camera to create an amazingly visual film. We talk about the performances — Robert De Niro, Jodie Foster, Albert Brooks, Cybill Shepard, Harvey Keitel — and what the actors bring to the table. We chat about the nature of a film essentially about a psychopath and how that affects its audience, and in particular Pete who now hates himself for not liking the movie (despite still appreciating it). And we expound on the majestic score by Bernard Herrmann — his last — and what it brings to the film, even if Andy can't remember his name. We have a great conversation about the film with just the right amount of disagreements thrown in for your listening pleasure. Tune in!

In 1976, John Schlesinger made a film adaptation of William Goldman's novel Marathon Man, and in the process, made everyone afraid to go back to their dentist. There are few things more horrifying than watching Laurence Olivier's Nazi dentist drill into Dustin Hoffman's teeth (the healthy ones because it'll hurt more, naturally). Join us — Pete Wright and Andy Nelson — as we start a new series digging into great films from 1976, a great year for cinema, and we start it off with Marathon Man. We chat about the tonal shift in films in the 70s (and mention the great documentary about 70s films, A Decade Under the Influence), and how that change affects this thriller. We discuss the nature of a world in crisis, where this film's world is after WWII, the psychology of people as passive witnesses, and the nature of paranoia itself and how all of these themes play important parts in the film. We chat about Hoffman, Roy Scheider (our favorite 70s actor), Olivier, Bill Devane, and Marthe Keller in the film, and examine what they bring to their performances, particularly in this grittier period of filmmaking. And we talk about the famous torture scene and how it holds up by today's standards. We're thrilled to be talking about 1976 and have a great conversation about this film. Check it out and tune in!

We end our Original Science Fiction series with Andrew Niccol's visionary 1997 film set not too far in the future, Gattaca. Join us — Pete Wright and Andy Nelson — as we delve into not just what makes this film great and unique, but also what ties the four films from this series — Dark City, Sunshine, Moon, and Gattaca — together. We chat about the nature of science fiction films set close to where we are now and how those stories use the tools of science fiction to explore the dangers of where we could end up. We discuss the concepts of genetic manipulation as it is in the world of the film, what actual geneticists think of it, and what the filmmakers are trying to say. We talk about the great performances in the film, from Uma Thurman and Ethan Hawke to Alan Arkin to Xander Berkeley, and how they're all bringing great stuff to the table. We get into the look of the film, from the stunning production design and costume design to the marvelous cinematography, and how all of these elements came together to create an original future that certainly feels believable. And we look at the nature of being an original science fiction film and what that actually means — not just how it fits within the genre, but how those films tend to fare at the box office. It's a great film that poses interesting questions and certainly is worth watching and discussing. Tune in!

Our original science fiction series continues with Duncan Jones' fascinating film debut from 2009, Moon. Made for a low budget, this entry into the science fiction genre showed that you didn't need a $100 million budget to tell a science fiction story that makes you think while also being a great story. Sure, it has its problems, but it's easy to forgive when it's as fascinating to watch as Moon is. Join us — Pete Wright and Andy Nelson — as we talk about it on this week's episode of The Next Reel. We talk about the low budget production of this film and what they were able to pull off to create a compelling piece of sci-fi. We chat about Sam Rockwell playing opposite Sam Rockwell, how well it works technologically-wise, how well he performs it, and what it means to the story. We delve into what the filmmakers are saying with this film and how well the message is pulled off. And we chat about the effects, both digital and physical, and how well they're blended. It's a great film, even with the issues that come up in Act 3, and one well worth talking about. Check it out!

We continue our Original Science Fiction series with Danny Boyle's 2007 film, Sunshine. It's a film that stands out as a highlight in sci-fi films for its magnificent vision depicting mankind needing to travel to the sun to reignite it, but one that most people seemed to never hear about or avoid as it was a big box office disappointment. Join us — Pete Wright and Andy Nelson — on this week's episode of The Next Reel as we continue our series with this film. We talk about the fascinating discussions and explorations that arise out of this film regarding the nature of man vs. God as well as science vs. nature. We hash on the end of the film and why Andy has a problem with Danny Boyle's directing choices. We discuss the brilliant special effects and how they help the film ground us in the reality of this world and journey. And we throw in some scientific facts about the sun for good measure. It's an episode full of information, debate and fun. We have a great time talking about Sunshine. Watch the film and join us!

The Film Board gathers to take on Disney's latest trip to the Emerald Kingdom. This week on the show, Steve Sarmento and Tom Metz join Andy and Pete to pull apart Oz The Great and Powerful, and pull it apart they do. Clumsy scripting? Trouble with the protagonist? Witches that can shoot lightening from their fingers throwing away everything because of a crush on a boy? All that, and we're still swept away by the magic of the final act. Listen in for why we think this is a great what-coulda-been film that ends up near the very bottom of our list.

With all the franchises, spin-offs and films based on other mediums these days, it seems rare to find original sci-fi films. That inspired us to do a series of original sci-fi films, and we're starting with one of our favorites. In 1998, Alex Proyas created a fantastic and wholly unique science fiction film, Dark City, that unfortunately bombed at the box office but has since proven to be a cult hit in the after markets. This film, a neo-noir sci-fi with a very mysterious twist, follows a man with amnesia as he tries to uncover who he is, why nothing seems to make sense, and why he woke up at the scene of a murder. Join us — Pete Wright and Andy Nelson — this week on The Next Reel as we begin our Original Sci-Fi series with Proyas' Dark City. We talk about the nature of the world, a place of puppets and puppetmasters, and what happens when a puppet realizes the world it's in. We discuss the great cast — Rufus Sewell, Jennifer Connelly, William Hurt, and Keifer Sutherland in particular — and what they bring to the table. We chat about the stunning production design and effects, as well as the shadowy noir cinematography style. And we cover the script and how it seemed to come out at a time when many stories with this similar theme were being released, like The Matrix and The Thirteenth Floor. It's a great sci-fi and we have a great time talking about it. Tune in!

There's something about memories of childhood and baseball that seem to go hand in hand. Perhaps it's the tradition of baseball — it feels as tied into good ol' Americana as much as fireworks on the Fourth of July or hot apple pie, things that can certainly define childhood memories. Perhaps it's just that it was one of those things you did as a kid that helped shape who you would become. Regardless, David Mickey Evans tapped into this connection for 1993's The Sandlot, his directorial debut, and ended up creating a cult favorite that will stand the test of time because of it. This week, join us — Pete Wright and Andy Nelson — as we wrap up our current baseball series with this fantastic movie that tells a simple childhood baseball story yet seduces the audience into reconnecting with their own childhood. We talk about the nature of this story and how its episodic coming-of-age nature connects it to other great films like A Christmas Story and Stand By Me. We chat about the great cast and how these Sandlot kids really work well together as a group of friends. We discuss how the film really does seduce you, as Roger Ebert said in his review, "with its memories of what really matters when you are 12." And we hit on the interesting and opposing views of baseball that this film and our last film in this series, Moneyball, take. It's a very easy and enjoyable film to watch and we have a great time talking about it. Tune in!

It's spring training season again, and we're back to discuss more baseball movies! In 2011, Bennett Miller directed Moneyball, a fascinating film — one of our favorites — that details the 2002 season of the Oakland A's, and particularly how General Manager Billy Beane decided to use a new statistical approach nicknamed moneyball to buy players, bucking all tradition within the game. The film was a critical and commercial success, and received numerous awards and nominations including 6 Oscar nominations. This week, join us — Pete Wright and Andy Nelson — as we begin this year's baseball series with this amazing film. We talk about the brilliant performances, from the key performances by Brad Pitt and Jonah Hill to the supporting performances by Robin Wright and Spike Jonze (and even Derrin Ebert!). We discuss Pete's fascination with the nature of moneyball and the use of statistics to essentially better control the destiny for a team, and how that balances with the unpredictable magic that happens in the game. We chat about the amazing Wally Pfister and what he brings to the table with his cinematography. And we also chat about the struggle the screenwriters had in getting the script adapted from Michael Lewis' nonfiction book, why the film took so long to get made and who had been involved at various points in getting it made. It's a deeply engrossing film that we love, and we have a great time talking about it. Tune in!